John Hollenbeck: Rainbow Jimmies (2009)

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When encountering drummer John Hollenbeck in a traditional jazz setting, there's usually the distinct feeling that he is something other than a jazz drummer. Where some drummers muscle their way through a set, he prefers to finesse the music, accenting the songs in always new and creative ways. Maybe it is his past experience in other formats such as klezmer, Latin, classical and especially world music, that affords him the freedom to dream beyond the parochial nature of jazz.

His prior discs have been filed under jazz, but seem to want to migrate toward the chamber music section of your record store. Just as the Modern Jazz Quartet and the work of Anthony Braxton refuse to be categorized, Hollenbeck's music reaches out towards European, modern, and ethnic music almost simultaneously.

Rainbow Jimmies draws together several commissioned works by Hollenbeck for different groups, but all somehow reconcile Hollenbeck's musical vision and vocabulary.

The first seven pieces feature some combination of Hollenbeck, vibraphonist Matt Moran, and violinist Todd Reynolds

. Written to showcase the extensive range and technique of Reynolds, the "Gray Cottage Studies" (mostly very brief) are imaginative, exhilarating and at the same time quite meditative.

The "Ziggurat" (or ancient buildings) compositions were written with construction in mind. The composer is accompanied by the Youngstown Percussion Collective and Saxophone Quartet on "Ziggurat (exterior)" and Ethnos Percussion Group on "Ziggurat (interior)." Where the exterior piece amplifies the harmony of all the builders working as one, the interior work song showcases the independent percussionist working towards a whole. The rhythms of teamwork are juxtaposed against the on/off switches of autonomy, and as such these two constructions necessitate they be played side-by-side.

The remaining two sections reunite The Claudia Quintet. "Sinanari (acoustic remix)" is a faux remix of a traditional Turkish song, with bassist Drew Gress

, accordionist Ted Reichman and Hollenbeck playing a precise, machine-like version. The title track allows time to fluctuate as guest guitarist Mark Stewart winds his way through Hollenbeck's complex writing. Not quite jazz nor truly classical, it may just be the middle way. Somebody call the Buddha.